‘Come, what, a siege?’: Metarepresentation in Lady Jane Cavendish and Lady Elizabeth Brackley’s The Concealed Fancies Lisa Hopkins and Barbara MacMahon Sheffield Hallam University
[email protected] [email protected] The Concealed Fancies is a play written by Lady Jane Cavendish and Lady Elizabeth Brackley, the two eldest daughters of William Cavendish, marquis (and later duke) of Newcastle, during the English Civil War.1 We can feel reasonably certain that the sisters wrote it in the hope that it could be performed; however, that would have required the presence of their father,2 whose return is the climax of the story, from the Continental exile to which he had fled after his comprehensive defeat at the Battle of Marston Moor. The idea of performance must, therefore, always have looked likely to be wishful thinking, and the play remained a closet drama. This was in any case a genre with which it had several features in common, since two of its most celebrated practitioners, the countess of Pembroke and Elizabeth Cary, had set the precedent for female dramatic authorship; moreover, a crucial scene in The Concealed Fancies is actually set in a closet, when the three ‘lady cousins’ pick the locks of Monsieur Calsindow’s cabinet and look through his possessions, and it is at least possible that the sisters envisaged any performance of the play at one of the two family homes of Bolsover or Welbeck as taking place in a promenade style which would have involved moving to an actual closet for part of this scene.